Painting Blind With Visually-Impaired Visual Artist John Bramblitt

John Bramblit is a visually impaired visual artist based in Denton, Texas. To put it bluntly, he’s blind, but he’s also a painter.

Bramblitt paints by raising lines on the surface of a canvas and altering the consistency of paint so he can ‘feel’ the colors. He’s worked with internationally acclaimed museums like the Guggenheim and the Metropolitan Museum of Art to run popular workshops that teach people to see the world as he does and paint using their senses and imagination.

“I’ve drawn since I was really little, but I never painted until I lost my sight because I didn’t think I’d be good. But here I was, without my sight, and my brain was filling up with images, and I couldn’t get them out. And I didn’t think I’d be able to do art again.”

Take a look at John Bramblitt’s D Emptyspace galleries below:

Brazil Gallery in D Emptyspace / Originals for Sale Gallery in D Emptyspace

“Art came to me at a time when it just shouldn’t have. I mean, come on. It shouldn’t have. But it did.”

Brazil Gallery in D Emptyspace

Let’s just jump straight into human curiosity. Can you remember what your paintings look like after you’ve painted them?

It’s a funny thing. When I was sighted, I thought your physical eyes is where vision comes from — even though I knew logically that it’s your brain that makes the images.

But when I lost my sight… my brain still made the images. It’s almost like when you’re dreaming, you see the world, and it seems very real to you. It’s because those images are coming from the same part of your brain as when you’re seeing with your eyes.

But the trick is trying to get those images out of my brain. And that was the hard bit in the beginning.

“Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.” is one of my all-time favorite quotes from Einstein.

Perceptions11

You’re a pretty progressive guy. How does technology affect the way you do art?

Thank goodness for the internet! It allows like-minded people all around the world get together. A lot of what I do is international. And I’m always looking for a different way to reach out and to put artwork out there. And it gives me a way to meet other people. That’s actually how we (my wife and I) came across D Emptyspace, we were just browsing through new things.

One of the most powerful things about art is that it cuts through time, it cuts through borders, it cuts through language — everything.

Technology helps me a lot. In my studio, I have a massive 3D printer. I can print out statues, I can print all kinds of things. For example, I’m doing a commission that has the Statue of Liberty in it. I remember seeing that when I was a kid, but I can’t remember the exact details. But with my 3D printer, I can print it out and feel it. So with technology, I’m not limited anymore by what’s in front of me.

Symphony in Black

I’ve heard you run some pretty interesting workshops all over the place. Can you tell us about your experience with them?

Every workshop that I teach is free (unless we’re raising money for charity or nonprofit). And it’s because I want to include everyone. Even if you’re blind, even if you’re in a wheelchair, even if you speak a different language.

Everybody’s included. Everybody paints at the same time. Everybody goes on the museum tour. And it sounds like everything would be crazy. A helter-skelter mess of people of all ages and abilities… But it’s not, it’s actually brilliant! Everybody’s just laughing, we’re all having a great time. It’s hands-on art.

99% of the people I work with don’t have a disability, but it’s that 1% that I get to work with have Alzheimer’s, or PTSD, or are in wheelchairs, or blind… that 1% just makes me feel so great.

In any given workshop, you could have something like a professional artist sitting next to a child that’s never painted before or is visually impaired. And the child is asking questions that the professional artist has never thought to ask. And then the professional artist is coming up with ideas and helping that child formulate their own art. And it makes them both rethink.

Originals for Sale Gallery in D Emptyspace

My rule is if I’m doing a show somewhere, I’ve got to do workshops — we’ve got to go into a children’s hospital or a museum or a gallery, we’ve got to go somewhere, and it’s got to be free.

If I do an exhibition at a gallery, I want to do something in the community — it’s one of my rules. And a lot of galleries are hesitant and say, “Oh, I don’t know, we’re not charging anything?” But whatever we do turns out amazing for the gallery because we get publicity for doing crazy things. I mean, we’re blindfolding people to show them how to paint!

Bramblitt pictured at one of his workshops

Do you ever feel overwhelmed by your blindness or overcome by negative emotions? How did painting help you when you first became blind?

I do. And I used to be really nervous about talking about it. But something helped me change that. The first time I gave a talk at the Metropolitan Art Museum in New York, I wanted to mention a few famous artists that had a disability. So I tried to find artists represented in the museum that were depressed, autistic, epileptic or had a disability in some way. Then I realized that I had a hard time finding somebody in the museum that didn’t have a problem!

Lots of artists have been — and still are — separated from their society, by their beliefs, the way they live their lives or some other factor. It makes sense that most people who make art have gone through something. All art is, is communication. And people want to communicate when they’re in pain or they want to reach out.

Art’s a very healthy way to deal with depression, anger, and those problems. To reach out and try to communicate those feelings.

Park Melody

When I lost my eyesight, I was so depressed, I didn’t even realize that I was angry.

I was really nice to everybody. And I was doing everything that I was supposed to. I was still going to college as an English major… but I couldn’t read or write. I sat in class thinking stuff like, “well that sounds like a great book, wish I could read it”.

It’s really easy to focus on the things that are bad in your life, things that have been taken away. And I know whenever I first lost my sight, I was very depressed about that. But one of the things that I was given is painting. Because I did illustration all my life, (I didn’t paint, I didn’t think it’d be a good painter), my brain and my hands understood how to draw. And so I was able to make art.

Nowadays, I paint about 12 to 14 hours a day, 7 days a week. Except for the days when I travel. On those days it’s between 4 and 6 hours. I’m a little obsessed with it, but it’s my way of understanding the world. I need it. Recently I had back surgery and couldn’t paint for 2 weeks. And I was getting all jittery!

Painting makes me really happy. It’s my way of reaching out to the world.

You’re not sighted, but you can still paint amazing likenesses of real people — how do you do that? And what do you mean when you say that a work needs to ‘feel’ like that person?

If you’re painting a tree, a leaf can be off who’s going to know? But if a nose is crooked, everybody’s going to notice and it won’t be a very good likeness of the person. So I need to get that right, but it’s also about color. The colors have to match a person’s feel.

A while ago I did a painting for the Epilepsy Foundation. The model was an 11-year-old girl who has epilepsy and the painting was for an award she was winning. I read her biography, and all about her, and I thought “Oh, she’s amazing. She’s vibrant and busy, and energetic”. I had the entire color palette ready in my mind for the canvas. All I needed to do was feel her face real quick. I thought that was the last component.

But when I met her, the colors were completely wrong! She’s an amazing kid and she was vibrant and all, but she was also very stoic. She had this internal energy that was really funny and witty. And I realized that if I used the color palette I was thinking of, the painting wouldn’t really look like her. Because it wouldn’t feel like her.

Now I know that I actually need to get to know a person to paint them. It’s more than just touching their face.

You use raised lines to find your way around a canvas. How did you develop that technique?

The way I paint is just using basic cane skills. It’s the same skills you use with a guide dog. It doesn’t require expensive equipment or anything. Because if you can feel your way around a busy city with a cane and not get hit by a car (and you can), then you should be able to feel your way around a canvas with your fingers. It’s just smaller movements.

Thanks to my background in illustration, I was able to use compositional techniques that painters have used for centuries to break down a person’s face into smaller little areas to understand what they looked like. So when I started learning how to draw and paint again, I learned how to translate touch into images.

Any person that learns how to get around using a cane can learn to paint and vise versa.

I know it sounds crazy and ridiculous, but all you’re learning to do on a canvas is spatially orient yourself. You’re putting something in one place, and remember where something else is. For example, when you navigate around a room, you know where the door is, where you put your coffee cup, that kind of thing. It’s just basic orientating.

And it’s incredible. As visually impaired children learn to paint in the way I paint, their ability to get around just explodes. It’s just ridiculous. Suddenly they go from bumping into things to zooming around a room with their friends in just two weeks.

How do you tell colors apart when putting them on the canvas?

I map out every stroke of a painting in my mind before I even start. Of course, it changes while I’m painting. But I know every step I need to take in advance.

To tell colors apart, I change the way they feel. So that I can touch a paint, and know what color it is by how it feels. I do this by using different mediums that I mix in. So whether you’re sighted or blind, white feels like toothpaste and black feels like runny oil.

And of course, the big question… How can someone blind ‘see’ color?

For my whole life, whenever I hear music or sound, I see color. And when my eyesight went, that’s where a lot of my color came from. Music and sound, and a little bit of emotion.

I’m a huge color nerd. I’ve read every book on color theory that I can get my hands on. But it was 11 years ago, when my son was born, that I really started to understand color.

I didn’t know what color was until my son was born. When I felt his face and saw what he looked like, color changed for me. It just wrinkled my brain.

Morning Forest

Within moments of my son being born, I was able to feel his face when he took his first breath. I don’t think a visually impaired person has ever been able to see their child like that. It was such a special moment for me. When I felt his face, color just exploded.

I had this new understanding, an emotional level that I’d never experienced before.

The longer that I paint, the happier I am, and the brighter the colors become. When I first started, everything was very dark and very morose.

Escape by John Bramblitt

How do you navigate marketing your art and how did you get your name out there in the beginning?

I had a lot of seizures back when I started, and it was affecting my breathing and my heart. I honestly didn’t think I’d have that much time, so I did what made me feel good and what I thought was important. And then my health got better and it started to pay the bills! It all just kept going, and I kept doing it.

But I understand how hard it is to put your name out there when it comes to art. I know gallery owners love art. But a lot of young artists make the mistake of thinking ”Oh, they love artwork, so they’re just going to have me come in, maybe I’ll sell some pieces for the gallery, and it’s gonna be great.”

Nope, that’s not how it works — they need somebody that has a track record. Because if they don’t sell anything, they don’t make any money that month. And even though they love art, they have to pay the bills. So because of that, It makes sense that it’s hard to break into the gallery world.

I didn’t want to show my art in the beginning. It wasn’t even a thought. So I started working with nonprofits and charities, running workshops, doing shows and fundraisers and things like that.

Then I started to realize something, and I’ve been telling other artists this:

The people that fund charities, the people that help nonprofits, the people that have free time to go to these things, are also the people that support the arts because they have the time and money to be able to do it.

I didn’t think about that start. People would say “thank you so much for coming out for our cause” and then in the same breath they’re saying “hey, by the way, I like your art and I want to commission a piece”. I think that’s a great way to get started.

Wandering but never lost by John Bramblitt

I read that when you first exhibited, you didn’t tell people that you were blind. Why was that and do you ever still do it?

My blindness is still a very personal, private thing that I keep close to me.

Back then I thought being blind made me different than everyone else. But I started to realize it actually made me more alike.

We all have something in our lives at some point that just seems bigger than us, that seems insurmountable, that we don’t know how we’re going to do it. But we just have to have faith in ourselves and push ourselves through it.

When I realized that, I stopped hiding the fact that I was blind, and it made me a lot happier. I was able to work with charities and nonprofits, and that made me feel even better. Because it doesn’t matter where I travel in the world, when I do workshops, I get to be around the best people. I get to hang out with people that are doing art for all the right reasons, and it recharges my batteries.

What’s next for you?

The US state department has been sending me all over, to Brazil in September and Poland in October to name a few places. I’m going to be going to schools, museums, universities and children’s hospitals to run my free workshops and exhibitions — something I’m really looking forward to.

One of the biggest reasons why I love working with museums is that I get to make them more inclusive.

This year marks 10 years of partnership between me and the Dallas Museum of Art. And I’d like to continue doing that. Looking forward, I plan to work with more children who have disabilities, because that’s something I really love doing. Plus thicker paint. I think I’ll be experimenting with lots of thick paint in the near future. I’m talking inches and inches — it’s going to be crazy!

Learn more about John Bramblitt via his Website.

All artworks are for sale either as originals or limited edition prints. Click here to view the full range of originals and over here for the range of prints.

Get in contact with John for workshops, speaking engagements and commissions by emailing him here: bramblitt@gmail.com

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Exploring Timelessness With Painter Freya Purdue

Exploring Timelessness With Painter Freya Purdue

Artist Freya Purdue next to her work “When there is no more”

This week, we catch up with the award winning Freya Purdue, a UK-based oil painter whose work draws from a wide range of sources — from the most obvious classical themes in painting to the subtlety of philosophical and mystical thought.

“From childhood I knew I was going to be an artist,” but it wasn’t until she was 26 that she enrolled in Saint Martin’s School of Art (now Foyles). She then earned an MA at Chelsea School of Art, and was awarded the Cardiff Junior Fellowship in Painting.

“It was the tail end of an era in art schools where students received grants for travel, living, and materials. Anyone who managed to get a place was able to go and focus wholly on study and painting”

Khipu by Freya Purdue

Her other grants and awards include the Digswell Arts Fellowship and the Boise and Villers David Travelling Scholarships.

Freya was fortunate to study under some of England’s artistic luminaries, including Gary Wragg, Jennifer Durrant, Albert Herbert, Henry Munday, John Hoyland, Patrick Caulfield, Albert Irvine and John Stessica in her undergraduate years and Ian Stevenson, Roger Ackling, Victor Willing, Paula Rego, and Patrick Heron during her Master’s Degree.

“This is how my story began and I have always felt grateful for those early formative years which were both a great life experience and a period of development, learning and experience in painting which enabled me to develop my own language and approach.”

Our interview with Freya Purdue picks up after those halcyon years and focuses on her career as an artist. And it’s a career that has been unquestionably successful. Along with countless solo exhibitions, she has exhibited with Gimple Fils Gallery London, Kettle’s Yard, Cambridge, Vimonisha Gallery, Madras, L.T.G. New Delhi, Galeria Stara Bwa, Lublin, and Christie’s, London.

Turning Point by Freya Purdue

Life as a fine artist (or any type of creative for that matter) isn’t often classified as ‘easy’… What’s the journey been like — have there been any memorable highs and lows?

Following my MA at Chelsea, I won the junior fellowship at Cardiff School of Art for a year which was a very rewarding experience. This was followed by a good range of excellent exhibitions, opportunities, and awards over the next few years.

Of course, there were difficulties along the way — mainly to do with earning money for studio and supplies as well as making a living and living life. Lecturing at Chelsea and Hertfordshire University whilst enjoyable but was both demanding and time consuming. I think this combination of difficulties is familiar to many artists.

Promoting artwork was very difficult and expensive before electronic media and it was difficult to exhibit work… due in part to this and in part to a lack of opportunities.

Gallery in D Emptyspace by Freya Purdue

Things are so different today. It’s so easy to publish work online and instantly communicate with people.

It is easy to get more information about galleries and all kinds of exhibition spaces — everything has speeded up including the procurement of material and for me, it makes more time for painting.

You form such vivid details and wonderfully complex juxtaposing shapes. Do you have a general process you follow? How long does it take for you to complete a work?

I have no set formula, I would have to say there is a range of processes I use to start making a new painting after having established the main idea for the work.

Taijasa by Freya Purdue

I work in response to the nature of the idea.

So that means either drawing directly on the canvas with a brush, or wash on a colour. Sometimes I make a little drawing on paper (but I don’t make sketches) to work out the structure or format, or make monoprints to look at possible colour combinations.

I look for the atmosphere or spirit of the idea as the core of the work begins to form. I often start working on the painting first and then explore the possibilities by doing some visual or cultural research to support the expansion of the visual aspects of painting.

Sometimes an idea can lead to a clear method of making and the painting reaches conclusion relatively fast (2 or 3 weeks, which is fast for me).

As for the time it takes to complete a work, this varies immensely.

Some work is clear from the beginning and it can just be the time it takes to make it.

Some visual decisions can take a long time to percolate before the next stage of development is decided, so the time it takes me to finish a work ranges from a week or two or sometimes up to a year or two.

Do you prefer to work in series rather than on stand-alone pieces? How many artworks do you have in progress at any given time?

I don’t prefer to work in series. I do work on a range of paintings at the same time, but they are not always a series. Most of my work is on standalone pieces with an occasional series when a specific idea needs more than one work to fulfill its potential.

I can have up 20 paintings on the go at any one time, all in different stages of development and this is mainly due to my research process and sometimes and slow visual decision making. I take time to discover the right visual aspects or components.

My artistic decision, coupled with the practicalities and the time consuming aspects of the oil painting process mean my work can take a long time to complete.

The Edge by Freya Purdue

You’ve said that when painting you’re “absorbed in the discovery of an energized sense of connection and consciousness”. Has the ever-growing prominence of technology threatened or enhanced that connection?

I think the developments of technology have in many ways speeded up the painting process — it’s so much easier to research visual ideas, to order materials and to promote the work online. These are all big positives!

Painting takes a new place in relation to technology.

In many ways, painting is an old art form that is much challenged in this current digital climate, but there’s still a lot of people making paintings — why is that?

Painting remains still! And it promotes quietness, reflection, and even meditation. It takes the consciousness into a different space. It retains its mystery and although the image of the painting can be communicated online it is always a surprise to see them in the flesh. There’s almost always so much more to the work than the digital image. The true power can only be experienced when standing directly in front of the work in real life.

Gallery in D Emptyspace by Freya Purdue

Usually, I pick a work and ask artists to give me a breakdown behind what they were thinking… but every single one of your artworks is so evocative that I just can’t choose! Is there a trick to building in such a deep sense of fascination in the viewer’s mind?

Each of my works is about attaining clarity in relation to a source idea. As I see it real ideas are living energy and can be translated infinitely.

Ideas are timeless and have been explored by human beings since the very beginning of time, from the very first known human marks right up to today’s creators.

Of course, no one has a prerogative over these ideas so people working in all the arts and sciences are using them everywhere.

This is where each person must find their own identity and creative voice, their own special vision, their unique magic that can be shared with others who may have affinities with the spirit of their work. Every moment is a mystery and is different from the last, so why not take advantage of it and create something new!

For me then, each painting is the expansion of my own voice that builds a connection with who I am and with my fellow human beings, past and present.

Nemet by Freya Purdue

Creating magnificent artworks is only one piece of being a successful artist. How have you navigated the more commercial side of the art world? And in particular, do you do any sort of online marketing of your work?

‘The art world’ — whatever that might mean — is an anathema to me and I have never really entered it. The commercial side of things is another world and not one I wish to spend my precious time thinking about.

I like working towards putting on solo exhibitions because it’s a chance to really take in what I have been exploring in one go. It’s also an opportunity to let others catch a glimpse of my vision. Selling work is fine, but it’s not my focus.

I am always keeping my eyes open for venues to show work, but exhibitions take a lot of energy so I don’t want to do too many. I have one at the The Yellow Edge Gallery in Gosport in October and two coming up; one at the Quay Arts near where I live on the Isle of Wight and one at the New Cut in Halesworth. That’s quite enough, I need my quiet time in the studio most of all.

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Painting a Kaleidoscope of Color with Jason Anderson

Painting a Kaleidoscope of Color with Jason Anderson

Marina by Jason Anderson (2019)

When we saw Jason Anderson’s work, we just had to find out who was behind the canvas. His eye-catching art is inspired by the beautiful and varied landscape of his coastal surroundings and his experience as a stained glass artist.

Anderson is a full-time artist based in Dorset, UK. His use of color combined with his bold application creates a compelling composition of large sweeping impasto strokes that blend seamlessly into areas of smooth vibrant color.

We got the chance to chat with him about his painting process, how he developed his unique style, and how he goes about marketing his art via social media.

What led you to decide to be an artist? When did your artistic story begin?

I left school at 16 to start my art career as a stained-glass artist.

I served under the renowned (stained-glass) artist Roy Coomber for 5 years and was involved in some major restoration projects including York Minster, Gloucester, and Wells cathedrals.

The restoration work forced me to experiment with many different styles, while the design work taught me to compose a subject around very defined slabs of glass (i.e. color). This imprinting had a huge influence on the way I see things and probably goes some way in explaining why I paint the way I do today.

Pilot by Jason Anderson (2019)

You have extensive (and pretty unique) experience as a stained-glass artist. What drove you to seek that out in the beginning and in turn, what influenced you to make the switch to oil and linen?

Convenience initially. The stained-glass studio was just around the corner from where I grew up… so when it was my placement as part of a technical illustration course — it was a no-brainer.

I soon fell in love with the environment and work and really enjoyed my time there. It was a delight to follow my watercolor design all the way through to the installed church window — with light beaming through it.

My progression into oils was again was influenced by circumstance.

Jason Anderson pictured next to his work Embankment (2019)

Last summer (2018) it was so hot in my (perspex roof) studio that the acrylic paint was drying far too quickly — so I thought I’d give oils a try. It was a revelation for my work!

The extra drying time allowed me to move and blend paint around the canvas. Suddenly I could create the paintings I had always envisaged.

Now I prefer to use linen over canvas as it’s more environmentally friendly and has increased durability. I also use water-based oil paints (and natural oil mediums) for this reason. It’s about the little choices.

The texture you create (both visually and texturally) is incredible. It’s dynamic yet mathematical. What’s the process you go through with each painting? Is every stroke pre-arranged? And how long do those thick layers of oil take to dry?

I paint with a palette knife as I love the textures and shapes it creates. Like the impressionists, I’ve found that if the colors and tone are right, the form isn’t that important. Your brain simply fills in the gaps. This creates two visual experiences. From a distance, it’s a scene. But up close it’s all about the shapes and color.

Close up of Ternary by Jason Anderson (2019)

Using a knife lets me create bold straight lines that give each structure a certain strength and impact — especially when they blend into a smooth background.

The raised texture tricks the brain into thinking that these areas are closer to the viewer, which adds depth and perspective to the painting (a technique termed ‘perceptibility’ by Rembrandt’s student, Samuel van Hoogstraten).

I always start with a black and white pen sketch. It helps me see if the composition is strong enough and prevents me from dwelling on detail. I then sketch out the painting with a large brush and start to add the big areas of color in the background. Then I build up the subject with a knife. I don’t really know what colors I’ll be using when I start out — I just keep adding colors until the painting feels balanced and ‘full’.

Each work takes around 2–4 weeks to dry depending on how thickly I have painted.

From what I’ve seen, you have two distinctive styles, one abstract and the other more realistic. What’s the reason behind your experimentation with such different styles?

Realistic acrylic landscape painting by Jason Anderson (2016)

I used to paint realistically with acrylics… but as my style has developed with the oils and my abstracts, I have found it increasingly more difficult to paint in this way.

The reality of being a professional artist is that initially, you must paint what a lot of people want — and often that’s a realistic painting that looks like a photograph.

As you develop as an artist and your profile builds you can start to experiment and move onto impressionism and abstracts. Having this foundation as an artist allowed me to ‘earn my spurs’ and understand color and composition far better.

Ultimately it’s made my abstracts more convincing — there is no better teacher than nature.

You’ve gained an impressive social media following and are quite active on Instagram. Do you have any pointers for other artists in building (and keeping) their social following?

My Instagram following was mediocre up until recently.

It was only once I started painting and posting my new style of abstracts that it improved. For me, this proves that you must be true to yourself and paint what feels right for you. People will either like it or they won’t.

I now only post 1–2 paintings a week — making sure they are good strong compositions presented in a professional way (framed, in a room etc.). Bombarding people with tons of ‘works in progress’ or (personal) things unrelated to your art or profile is a sure-fire way for me to lose followers as I’ve built up my profile in a very specific way. I always remember that you’re only as good as your last post! (note: some people choose to do the opposite and build up a following based on their works in progress etc. It all just depends on what your specific followers respond to).

Instagram snapshot showing Jason Anderson’s “Foundry” visualized on a wall (2019)

How do you think technology is affecting the way we create art and make a living as artists?

Technology has a huge impact on art and how artists promote and sell their work.

Social media is the perfect platform for artists as it’s so visual.

When I started out, Facebook was my biggest seller of commissioned portraits and traditional landscapes. Now that I am focusing on abstracts, I have more success with Instagram. I think this is down to the different markets of each platform — Facebook loves traditional ‘realistic’ art, and Instagram loves more expressive abstracts!

With this in mind… I still feel that it is important for artists to hold and show their work in galleries as it gives you professional credibility.

A lot of people criticize galleries for their commission rates, but they have bills to pay. I owned a high street business once, and I found myself just making ends meet and working only to pay the multiple bills (rent, business rates, utilities, etc.) that came in each month.

I have no problem with galleries taking their cut as they’re the ones taking all the risks. It’s one of the best deals you’ll get as an artist — you only pay if you actually sell something!

In your most recent paintings, the ocean, the sky, and the sunset/sunrise make common appearances and are dramatically juxtaposed with a silhouetted city skyline. What’s behind this inspiration?

Aperture by Jason Anderson (2019)

I love the sea and everything about it. I remember as a child being transfixed by the sparkling turquoise water and reflections of the boats in Weymouth harbor (my favorite place in the world!) — so I can’t really help myself 😊

I also love the contrast of our relationship with nature, which is why I often end up including some element of humanity (e.g. a boat or skyline) — I want to remind people that we are simply tenants on this beautiful planet.

What piece are you most proud of and why?

I am really proud of all my work — I will never let anything go that isn’t exactly how I want it. However, if I had to select one (at the moment) it would have to be ‘Relic’.

Relic by Jason Anderson (2019)

The style of my work is constantly changing, so I sometimes keep paintings that are unique in some way e.g. the subject, technique or even the process… and this applies to ‘Relic’.

‘Relic’ is only a small piece at 40cm x 40cm… but it is such a simple composition and I painted it so effortlessly — I simply love everything about it and just couldn’t part with it.

Close up of the textures on Relic

When you set up an exhibition, how do you display your work? Do you consider style, color, size, and layout? Talk us through your process and feeling.

The only exhibition I have set up was at ‘Dorset Art Weeks’ last year — where you turn your home into a gallery for two weeks and you let people walk in off the street.

Often, I will discuss with a gallery how many pieces they’d like (versus how many I can realistically produce) and the owners decide how best to display them.

With this in mind… I like to choose a selection of sizes and shapes to cater to different places in the home and budgets. Most of the pieces I paint are square as I think these are better suited to abstracts — the orientation can suggest a subject e.g. a landscape.

I also like to paint the pieces in a series to keep the style consistent.

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